Shadwell in "MacFlecknoe," or describes the fire of London
in the "Annus Mirabilis," or soars into lyric enthusiasm in his "Ode on
the Death of Mrs Killigrew," and "Alexander's Feast," or paints a
tournament in "Palamon and Arcite," or a fairy dance in the "Flower and
the Leaf,"--he is always at home, and always aware that he is. His
consciousness of his own powers amounts to exultation. He is like the
steed who glories in that tremendous gallop which affects the spectator
with fear. Indeed, we never can separate our conception of Dryden's
vigorous and vaulting style from the image of a noble horse, devouring
the dust of the field, clearing obstacles at a bound, taking up long
leagues as a little thing, and the very strength and speed of whose
motion give it at a distance the appearance of smoothness. Pope speaks
of his

"Long resounding march, and energy divine."

Perhaps "_ease_ divine" had been words more characteristic of that
almost superhuman power of language by which he makes the most obstinate
materials pliant, melts down difficulties as if by the touch of magic,
and, to resume the former figure, comes into the goal without a hair
turned on his mane, or a single sweat-drop confessing effort or
extraordinary exertion. We know no poet since Homer who can be compared
to Dryden in this respect, except Scott, who occasionally, in "Marmion,"
and the "Lay of the Last Minstrel," exhibits the same impetuous ease and
fiery fluent movement. Scott does not, however, in general, carry the
same weight as the other; and the species of verse he uses, in
comparison to the heroic rhyme of Dryden, gives you often the impression
of a hard trot, rather than of a "long-resounding" and magnificent
gallop. Scott exhibits in his poetry the soul of a warrior; but it is of
a warrior of the Border--somewhat savage and coarse. Dryden can, for the
nonce at least, assume the appearance, and display the spirit, of a
knight of ancient chivalry--gallant, accomplished, elegant, and gay.

Next to this poet's astonishing ease, spirit, and elastic vigour, may be
ranked his clear, sharp intellect. He may be called more a logician than
a poet. He reasons often, and always acutely, and his rhyme, instead of
shackling, strengthens the movement of his argumentation. Parts of his
"Religio Laici" and the "Hind and Panther" resemble portions of Duns
Scotus or Aquinas set on fire. Indeed, keen, strong intellect, inflamed
with passion, and inspirited by t